Larissa Noury has a remarkable ability to create stunning artwork. Even in two dimensions her works evoke dreamlike impressions of places that are entrancing and beautiful. She has an instinctive flair for using colours in harmony and contrast, and for pleasing composition. But beyond the pictorial plane she piles up texture with impasto to produce an almost sculptural effect. This is quite remarkable and needs to be seen and touched to appreciate its 3D quality.
Going through the collection of paintings of Larissa Noury is a complex, many sided, adventure, well beyond the current, emotional, aesthetical appeal. It is cultural, being the matter subdivided into “chapters” which are not only a logical partition, but because their succession implies a strict conceptualization. It is stimulatimg,because the observer is unavoidably led to classify the vairous dimensions of a seductive enigmatcal style, forced to call into play all his disparate knowledges, from pointillism to brush strokes, the non representational and abstract art, often mixed with representation, and the debate on color and form interactions, all requiring an increasingly, continued inspection.
Going on, the observer fears that the collection might obviously reach its end. However, since it is not the immediate case, the question arises: how is it possible that a young artist succeded is producing so much work, with an incredibly density of subject matter and conceptual contents, ancient, modern, and avantgarde, imbedded with creativity?
The Natural World is a mystery, evoking a variety of personal evaluations, from the manifestation of the power of our Lord, to the atheistical bypothesis of a random ensemble. Larissa proposes her interpretation, by visualizing the marvellous multidimensionality of the detailed contents of the natural scenes and of various color combinations, unavoidably harmonious. The observer is gradually involved, and when, abruptly, a puzzle is presented, he/she is automatically self-driven to attempt a personal solution and interpretation. Larissa does not imposes, but friendly drags the observer to share her marvellous adventure. When the observer realizes that all his/her senses are catched, touch included, the purpose of Larissa has reached its goal: the observer has forgotten the monotony of everyday life, enraptured by the magic world of artistic beauty.
When times are ripe for leave-taking, the tool used by Larissa for this difficult event relies on the refined elegance. She now appears as an extraordinary mannequin, surrounded by people, hence in the real world. She wears her painted creativity, as if it were her skin, with spontaneity and casualness, and the observer is disoriented: the top fashion so devoid of frivoulness is the last surprise of Larissa.
